Page 67 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana: Mostovi med formalnim in neformalnim glasbenim izobraževanjem, leto 15, zvezek 31 / Year 15, Issue 31, 2019
P. 67
Sabina Vidulin, STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION...
creative fervor of producing an overall story, which connects musical contents with
elements of drama and language.” (Vidulin, 2015, 191).
Students are trained to understand music art with a multimodal approach. “The purpose of
getting to know music, analyzing and (self)working is to influence the culture of listening
to, learning about, understanding and accepting art music, therefore, it is oriented towards
acquiring knowledge about musical-stylistic periods in music art, and about the
characteristics of a particular work and its artistic values at the time it originated. By
listening to music and analyzing musical works, children get to know musical instruments,
singing voices, solo, chamber and group ways of performing music, musical forms,
instrumental, vocal and vocal-instrumental types, musical-stylistic periods, composers
and performers.” (ibid.).
Given that the annual SEM workshops were realized as part of extracurricular and
out-of-school activities, a practical idea that has been repeatedly realized was the project
Traveling through Europe. Students met 11 European countries and get acquainted with
music, composers, celebrities, sights and attractions of individual European countries.
Conclusion
Interdisciplinarity in music teaching, although a perennial European and even more
American trend, was not reflected in the teaching of music in Croatia until a few years ago.
Music was approached almost exclusively with musical stimuli, with a distinct auditory
and analytical approach. Although there were examples of different practices, the standard
method of listening to and music understanding was a mandatory didactical route. In this
way, students from most Croatian academies and faculties were educated and teachers
were trained during professional seminars.
Today, with occasional workshops and lectures on the possibility of an interdisciplinary
and multimodal approach to listening to and music understanding, the new Subject
Curriculum indicates that it is desirable that the domains A, B and C be intertwined with
the aim of a complete experience and development of students’ musical abilities. Domain
C, Music in context, is actually derived from domain A (listening to and music
understanding) and domain B (singing/playing music). “The starting point of this domain
(domains C, author’s comment) are domains A and B, on the basis of which the student
discovers the values of rich regional, national and global musical and cultural heritage,
notices the development, roles and influences of music art on society, and links music art
with other arts.” (Subject Curriculum, 2019, 7)
Listening to music, especially music taught in school, is not a favorite activity. The fact is
that students listen to their music, in their own way, when they want it, where and how
much they want it. Getting them to listen in class, at a specific time, and to follow and
actively participate in finding out what the music says, what it is, etc., can only be done by
changing the approach to listening to music. Some approaches have been told through this
paper and some are waiting to be found. There is a big role for each teacher: to make music
teaching close to the student so that music persists and remains an important part of his or
her identity.
65
creative fervor of producing an overall story, which connects musical contents with
elements of drama and language.” (Vidulin, 2015, 191).
Students are trained to understand music art with a multimodal approach. “The purpose of
getting to know music, analyzing and (self)working is to influence the culture of listening
to, learning about, understanding and accepting art music, therefore, it is oriented towards
acquiring knowledge about musical-stylistic periods in music art, and about the
characteristics of a particular work and its artistic values at the time it originated. By
listening to music and analyzing musical works, children get to know musical instruments,
singing voices, solo, chamber and group ways of performing music, musical forms,
instrumental, vocal and vocal-instrumental types, musical-stylistic periods, composers
and performers.” (ibid.).
Given that the annual SEM workshops were realized as part of extracurricular and
out-of-school activities, a practical idea that has been repeatedly realized was the project
Traveling through Europe. Students met 11 European countries and get acquainted with
music, composers, celebrities, sights and attractions of individual European countries.
Conclusion
Interdisciplinarity in music teaching, although a perennial European and even more
American trend, was not reflected in the teaching of music in Croatia until a few years ago.
Music was approached almost exclusively with musical stimuli, with a distinct auditory
and analytical approach. Although there were examples of different practices, the standard
method of listening to and music understanding was a mandatory didactical route. In this
way, students from most Croatian academies and faculties were educated and teachers
were trained during professional seminars.
Today, with occasional workshops and lectures on the possibility of an interdisciplinary
and multimodal approach to listening to and music understanding, the new Subject
Curriculum indicates that it is desirable that the domains A, B and C be intertwined with
the aim of a complete experience and development of students’ musical abilities. Domain
C, Music in context, is actually derived from domain A (listening to and music
understanding) and domain B (singing/playing music). “The starting point of this domain
(domains C, author’s comment) are domains A and B, on the basis of which the student
discovers the values of rich regional, national and global musical and cultural heritage,
notices the development, roles and influences of music art on society, and links music art
with other arts.” (Subject Curriculum, 2019, 7)
Listening to music, especially music taught in school, is not a favorite activity. The fact is
that students listen to their music, in their own way, when they want it, where and how
much they want it. Getting them to listen in class, at a specific time, and to follow and
actively participate in finding out what the music says, what it is, etc., can only be done by
changing the approach to listening to music. Some approaches have been told through this
paper and some are waiting to be found. There is a big role for each teacher: to make music
teaching close to the student so that music persists and remains an important part of his or
her identity.
65
